Classical Music

According to the master’s 80th anniversary 3rd of October 2016 Deutsche Grammophon presents the iconic recording from 1974. “Music for Mallet Instruments, Voices and Organ“ was recorded 1974 in Polydor-Studios Hamburg. 40 years later this great recoding finally gets officially re-released. The record contains liner notes of Steve Reich and photos. This is a limited run of 2500 copies. The records are pressed to 180g vinyl including a download code.

Stunning new album from this Vancouver-based vocalist/composer

Having never met before going into the studio together, harpist Mary Lattimore and koto player Maxwell August Croy recorded an album in less than 48 hours, all live with zero overdubs. “Terelan Canyon” is a “new” sound built on interplay and improvisation that explores space and form, with virtually no ego, filled with sonic imagery and a tapestry of emotions. Epic and beautiful, this recording is a special moment captured in time. Mary Lattimore experiments with effects through her Lyon and Healy Concert Grand harp. Her latest solo harp record “At the Dam” was released in March 2016 by Ghostly International. Mary has recorded and collaborated with Thurston Moore, Kurt Vile, Meg Baird, Fursaxa, and Jarvis Cocker, among many and her harp/synth duo with producer Jeff Zeigler is currently working on a second record. Maxwell August Croy is a multi-instrumentalist whose work fluctuates liberally between melody, classicism and experimentation, all while attempting to harmoniously represent all three. A student of the piano, guitar and Japanese Koto, Croy has worked to expand the instrument's heretofore constrained vocabulary to settings outside traditional Eastern musics. He has released a number of full-length albums as a member of experimental ambient duo En with James Devane and has collaborated with musicians Tujiko Noriko, Sean McCann, Jared Blum and Jefre Cantu-Ledesma, with whom he also co-runs the Root Strata label. This is a limited run of 500 copies.

Glassworks is the most pleasant craftwork ever from the great minimalist exploiter. Six warm pieces in a successful attempt to create a more pop-oriented work. Glassworks is another Music On Vinyl Classical release by this fantastic composer.180g audiophile vinyl.

Nach ihrem gefeierten Konzert beim Acht-Brücken-Festival in der Kölner Philharmonie im Mai 2016 veröffentlichen die 6 Pianisten Gregor Schwellenbach, Hauschka, Erol Sarp (Grandbrothers), Daniel Brandt, Paul Frick (beide Brandt Brauer Frick) und John Kameel Farah ihre moderne Interpretation von Steve Reichs "Six Pianos", einer Originalkomposition von 1973, auf Tonträger, und ergänzen sie um Terry Rileys "Keyboard Study #1".

Composer and Golden Globe winning Jóhann Jóhannsson releases his first album for Deutsche Grammophon Recordings. It feels like a meditation over beauty and creativity Jóhannsson is a role model for the growing scene of contemporary composers who draw their inspiration from soundtracks, Minimalism, Ambient und electronic music. “Orphée describes the way out from the dark into the light inspired by mythical variations from Ovid to Cocteau. It’s the story of death and reincarnation as a metaphor for our society. Again Jóhannsson mixes acoustic elements combined with electronics, mysterious soundscapes paired with orchestral and a capella voices.

During an interview recorded at the KPFA Radio Steve Reich and John Gibson introduced an East Coast performance of Steve Reich masterpiece “Four Organs” as well as an exciting recording of Ghanian drumming which the artist recorded in Ghana. They also introduced the music of Philip Glass, playing a tape of his historical Music in Similar Motion.

Alfred Schnittke, Edison Denisov, Sofia Gubaidulina, Oleg Buloshkin, Eduard Artemiev. “(...)Please, try to imagine a score sounding by itself without a conductor, orchestra even without musical instuments. This magic is possible by using musical synthesizer “ANS”. “ANS” is an instrument with which a composer can not only create but even draw his music without notes and orchestra. A Soviet scientist Evgeni Murzin spent about 20 years to create this apparatus which can join together three processes: music creation, recording and performing. All these processes are rather complicated. You can see twinkling of different lamps, rotation of gured discs made of glass. Notes are cut on a glass disc covered with a special layer. The drawings on the glass are “sounding notes”. To listen to the drawn picture you should press the button and a wonderful transformation will begin. E. Murzin dedicated his apparatus to A. N. Scriabin, that’s why he called it ANS. A. N. Scriabin the creator of the “Poem of Ecstasy” used in his works a highly chromatic new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers know already some recordings made on “ANS” for films “Into Space”, “Solaris”, “Mirror”, “Siberiade” and some others. Works of well known Soviet composers E. Artemiev, O. Buloshkin, E. Denisov, S. Gubaidulina, A. Schnittke featured on this LP were recorded at the Electronic Music Studio (...) From original Liner notes

Another fine reissue of a Chicago classic from Jeff Craven and his Large Music imprint focusing again on the dynamic artistic team of Black Ice Productions. First released in 1992 on Velvet City Records, The Black Ice EP treads more into a deeper and jazzier vibes than their other outings at that time (such as the Union Camp release). A few listens and one can easily recognize the influence that all four tracks had on future labels and artists throughout the mid and late 1990's. This is timeless, pioneering Chicago deep house at its finest and a must have for all collectors.

Unreleased Neo Classic tracks by Max Richter. Hauschka, Johann Johannsson, Dustin O’Halloran, Sylvain Chauveau, etc. on Fat Cat's sub label 130701.

A collection of Stockhausen’ s most important works from the 1950s, particularly “Gesang der Jünglinge” (“Song of the Youths”) 1955-56, probably the most iconic piece of electronic music ever written. Only because of Stockhausen’s complete understanding of electronic equipment, along with his creative genius, was he able to produce this masterwork, the first piece of music to unify vocals and electronics.

180 gram white vinyl

Vangelis has always been fascinated by science and space. It wasn’t a big surprise he was heavily inspired by “Mission Rosetta” by the ESA (European Space Agency). “Rosetta” is supposed to explore our universe and its evolution. Vangelis already supported a first track “Rosetta’s Waltz” for this mission and his new album, which gives us an impression of zero gravity and endless space what reminds of classic the waltz scene in “2001 A Space Odyssey”.

Russian LP of electronic interpretations of ‘classical’ pieces by Claude Debussy and Monteverdi among others . Yuri Bogdanov features on every track, on some tracks together with Edward Artemiev, composer for Andrei Tarkovsky and others. Other tracks feature Vladimir Martynov.“The record is made on the basis of a kaleidoscope: it interspersed with pieces of various styles, genres and eras. For example, these pieces the authors wanted to show a variety of ways to use a synthesizer, starting with the direct simulation of now or once existing instruments, to the establishment of new not yet known sound systems. Thus, the record is like a small musical walk through time, we realized with SYNTHY100 synthesizer (...)” from original liner notes

Martha Argerich’s exhilarating early recordings, released here for the first time, include sonatas by Mozart and Beethoven that appear nowhere else in her discography; Prokofiev’s Third Sonata is also a recording première. This set displaying the young virtuoso includes her first recordings of Ravel’s Gaspard and his Sonatine, as well as Prokofiev Seventh Sonata, full of mystery and verve. They show her to be an eloquent and imaginative artist at the age of 18, already at the peak of her abilities. This release documents some of the radio recordings she made for North German (NDR) and West German Radio (WDR) in 1960 and 1967 and is released in time for her 75th birthday celebration on 5th June 2016.

Das Album des jungen, russischen Pianisten Ilya Beshevli wird in Fachkreisen im Vorfeld bereits als eines der besten modernen Klassikalben der Jetztzeit bezeichnet. "Wanderer" erscheint auf 180g Vinyl inklusive Download-Code.

Kuba Kapsa is a Polish pianist and composer. "Vantdraught 4" is written for violin, clarinet/bass clarinet, trombone and piano. The minimalistic style of earlier volumes is preserved although the music is less repetitive and much more intimate. "Vantdraught 4" is certainly linked to classical and minimal music in general but one can find other influences such as jazz and "new music".

"This much anticipated symphonic reworking of Pink Floyd's iconic 1975 #1 album Wish You Were Here marks the 40th anniversary of the original album release.

“Kontakte” (1959-60), Stockhausen’s first piece to use both electronics and traditional instruments together, marks a turning point in his career, when his music was beginning to show the influences of American avant-garde jazz and composers like John Cage. In “Kontakte” live musicians play alongside a tape recording of percussion sounds that have been altered by different electronic devices (i.e. a ring modulator or a reverberator). Stockhausen wanted the musicians to improvise over the prepared tape, but the musicians were at such a loss that Stockhausen eventually had to score the instrumental parts as well.

Performing on the Baroque cello (outfitted with gut strings and without an endpin, making it so that the performer has to clutch the instrument between the legs), Yo-Yo Ma delivers the warm, listener-friendly classical music that he has become known for. Ma presents a wholly unusual interpretation of some of Bach's better known Baroque works.

Anlässlich seines 80. Geburtstags präsentiert die Deutsche Grammophon eine von Mehtas besten Einspielungen wieder auf Vinyl, Bruckners 9. Sinfonie in D-moll, mit den Wiener Philharmonikern.

Anlässlich seines 80. Geburtstags präsentiert die Deutsche Grammophon eine von Mehtas besten Einspielungen wieder auf Vinyl.

This 70min organ concert was recorded in 2012 in Strasbourg Cathedral during the "Transes" symposium at HEAR. This was a unique performance in the cathedral's history and an important performance for Charlemagne Palestine, showing him at his best, slowly developing a wild crescendo and filling the gigantic space with his own ritual full of trance and ecstasy.Recorded in Strasbourg - 15/11/2012 at Cathédrale de Strasbourg, during "Transes" event at Haute Ecole des Arts du Rhin, Strasbourg, recorded by Philippe Lepeut, mastered by Frederic Alstadt. Photo : Tony Trichanh. Limited edition 500 copies. Gatefold cover + download.

Edgard Varèse belongs to the generation of Bela Bartok, Igor Stravinsky, and Anton Webern. Each of these composers produced a music of extreme individuality, like nothing of his contemporaries, and a radical break with that of the previous century. They may be said to have carried music to the limits of atomization, where one or another of its different elements seem to predominate.

Herbert von Karajan dirigierte in den 1960er Jahren weit mehr als nur Beethoven und Brahms. Die deutsche Grammophon präsentiert hier auf hochwertigem 180g-Vinyl Ravels wohl beliebteste Komposition, den Bolero, sowie mit Modest Mussorgskys Bilder einer Ausstellung eine der berühmtesten und meistgepielten Programmmusiken weltweit.

Herbert von Karajan dirigierte in den 1960er Jahren weit mehr als nur Beethoven und Brahms. Auf hochwertigem 180g-Vinyl präsentiert die deutsche Grammophon mit Debussys sinfonischen Dichtungen „La Mer“ und „Prélude à L'Après-midi d'un faune“ zwei Herzstücke aus dem Oevre des französischen Impressionisten.

In dieser Aufnahme trifft überragende Tontechnik auf einen Pianisten auf der Höhe seiner künstlerischen Fähigkeiten und einen brillanten Dirigenten. Das Ergebnis ist ein Juwel im Katalog der Decca. Die Rachmaninoff-Klavierkonzerte und die Paganini-Rhapsodie, interpretiert von Vladimir Ashkenazy und dem London Symphony Orchestra unter André Previn gehören zu den ikonischen Einspielungen aus dem Haus der Decca. Auf drei Vinyl-Platten wird dieser Meilenstein nun in seiner originalen Erscheinungsform gefeiert.

Dieses 2-LP-Set feiert eine der wirkmächtigsten Produktionen in der Geschichte der musikalischen Aufnahmetechnik: In den späten 50er Jahren wurde die Mercury-Aufnahme von Tschaikowskys „Ouverture solennelle 1812“ zur definitiven Testaufnahme für Audio-Equipment-Hersteller, die damit ihrer Hörerschaft die neuesten Boxen, Kartuschen und Verstärker in Audio-Shows überall in den Vereinigten Staaten präsentierten. Hier wird diese durchschlagende Errungenschaft mit zwei für Mercury eingespielten Versionen der 1812 gefeiert, mit der Tschaikowsky den Sieg Russlands in den napoleonischen Kriegen im Jahr 1812 kompositorisch umsetzen wollte: Auf zwei 180g-Vinyls finden sich eine Mono-Aufnahme aus dem Jahr 1954 sowie eine Stereo-Aufnahme aus dem Jahr 1958, beide mit dem Minneapolis Symphony Orchestra unter Antal Doráti.

This famous Alexander Gibson/New Symphony Orchestra of London collection from 1958 debuted at the dawn of the RCA Living Stereo era. It became one of the most sought-after Living Stereos with music by Arnold, Liszt and Mussorgsky amongst others, all with a spooky, witchy theme. The performances remain today as characterful and incisive as they were then.We've taken this classic and given it the full Analogue Productions reissue treatment, featuring a remaster by Germany's Willem Makkee from the original analog tapes, and plating and 200-gram pressing by Quality Record Pressings. Toping it off is a thick cardboard Stoughton Printing tip-on jacket.If such music didn't cast the right sort of spell, so many listeners wouldn't be returning to it on so many occasions, somehow feeling constantly refreshed.

Comprised mostly of Arvo Part's signature hypnotic tintinnabuli, performed by Anthony Pitt and Tonus Peregrinus, Passio Domini Nostri Jesu Christi secundum Joannem is a slow-moving liturgical piece that offers a vastness, solemnity and intimacy which allows for contemplation of the mysteries and suffering of the canonical text taken from the Gospel of John, chapters 18 and 19. Winner of the Cannes Classical Award.

Sunn 0))) member Stephen O'Malley debuts on Demdike Stare's imprint!The dark interpreter, Stephen O’Malley ov Sunn 0))), presents his towering debut orchestral composition ‘Guidés’; commissioned by French 35-piece improv orchestra ONCEIM - l’Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales - and released thru Demdike Stare’s DDS label.In early 2014 O’Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, comprised of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation and classical. Understandably intimidated by the prospect, but encouraged to “just be punk rock about it”, the preternaturally gifted composer has conceived a technically demanding - for the players at least - and richly rewarding longform drone piece intently focussed on harmonic experimentation and overtone study.During its 35 minute lifespan, ‘Gruidés’ requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding a gloaming spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion as used in his Scott 0))) collaboration.It makes great use of the acoustic qualities of Saint Merry church, central Paris, as captured in the recording of IRCAM’s Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in the cover art by Jean-Luc Verna. It’s an incredibly immersive piece that comes highly recommended if you’re into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber and, indeed, Sunn 0))).

"Shortly after it was published in 1968 the SCUM Manifesto by Valerie Solanas fell into my hands. Intrigued by the egalitarian feminist principles set forth in the Manifesto, I wanted to incorporate them in the structure of a new piece that I was composing. The women's movement was surfacing and I felt the need to express my resonance with this energy. Marilyn Monroe had taken her own life. Valerie Solanas had attempted to take the life of Andy Warhol. Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress. Solanas wished to be supported for her own creative work. Commissioned by the Music Department of Hope College, Holland Michigan, To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation had its premiere in 1970. Though everyone knew Marilyn Monroe hardly anyone recognized Valerie Solanas or took her Manifesto seriously. I brought the names of these two women together in the title of the piece to draw attention to their inequality and to dedicate the piece." Pauline Oliveros. "This LP contains both the 1970 Hope College premiere, performed by a 14-piece ensemble, and a 1977 recording from Wesleyan University, performed by a 43-piece orchestra. Roaratorio is proud to present the first commercially available release of this eerie, beautiful, and important Oliveros work. Cover artwork by Judith Lindbloom. Download coupon included." label info

Vikings is a Canadian-Irish historical drama television series, written and created by Michael Hirst. The soundtrack for Vikings 2 features selections from the original music of the second season of the series composed by award winning Canadian composer Trevor Morris, best know for his work on scores of The Tudors, The Borgias and Immortals.Silvery blue 180g vinyl.

Zeitkratzer releasing songs ? Isn't zeitkratzer a contemporary music group ? Or a noise band ? Songs ? These songs actually have been developed over several years and evolved from a fashion show zeitkratzer was making the music for. Marc Weiser a.k.a. rechenzentrum, since then a member of zeitkratzer, sings. Marc has already caused some furore as Mark Markowitch, singing fake songs in fake languages in some hidden Berlin bars. So now all of those together: zeitkratzer's noise, zeitkratzer's unfathomable electro-like sound layers and Mark's voice, flying above, croaking, reciting, disappearing inside the noise, singing the falsetto or just floating on a repetitive prepared piano loop... What a beautiful goodbye to Pop - back to the real song, the real air, with orchestral density and minimalistic sound layers: Songs ! zeitkratzer directed by Reinhold Friedl. Marc Weiser (voice), Burkhard Schlothauer (violin), Anton Lukoszevieze (violoncello), Ulrich Phillipp doublebass), Frank Gratkowski (reeds), Hild Sofie Tafjord (french horn), Hilary Jeffery (trombone), Reinhold Friedl (piano), Christian Lillinger (drums, percussion).

Selected pipe organ works 1983-2014. Clear-transparent vinyl, cover printed on 300gsm reverse stock. Mastered & Cut by Rashad Becker, Dubplates & Mastering, Berlin, April 2014. 16-foot pipe organs recorded in Cornwall at the churches of St Paul (Ludgvan), St Winnow (Towednack), St Uny (Lelant), St Wyllow (Lanteglos), St Cyrus & Juliette (St Veep). Unprocessed pipe organ recordings, equalisation only. Additional turntables, acetates & dubplates recorded in Trewellard, Penzance, Trewetha & 4 The Field.

180 Gramm Vinyl

180g vinyl.

With Solo Piano, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano.

Doppel-LP im dicken Deluxe-Gatefold - 180g Vinyl - mit Downloadcode. THE ALVARET ENSEMBLE ist ein Improvisationskollektiv, das sich um Greg Haines (Klavier), Jan Kleefstra (Stimme, Gedichte), Rome Kleefstra (Gitarre und Effekte) und Sytze Pruiskma (Percussion) rankt.Diese selbstbetitelte Doppel-CD/Doppel-LP ist die erste Veröffentlichung des Ensembles und wurde im August 2011 über drei Nächte hinweg mit Nils Frahm in der Grunewaldkirche in Berlin aufgenommen.In echter Projektmanier wurden weitere Musiker zu den Sessions eingeladen, um ihren Teil beizutragen und die Spontaneität der Aufnahme beizubehalten.Am Ende spielten diese Kollaborateure eine wichtige Rolle bei der Definition des Sounds des Albums.Iden Reinhart spielte - so wie Peter Broderick - die Violine, während Hilary Jeffrey (KILIMANJARO DARKJAZZ ENSEMBLE etc.) die traurigen Töne der Posaune beitrug.Martin Heyne, der eigentlich nur vor Ort war, um bei den Aufnahmen zu helfen, setze sich schließlich an die Kirchenorgel und trug so völlig Neues zum Album bei.Für Fans von SET FIRE TO FLAMES, RACHELS, ARVO PÄRT und dem Katalog von ECM. Greg Haines, der Kern des ALVARET ENSEMBLES, lebt und komponiert in Berlin.Er hat auf verschiedenen Labels veröffentlich, auf fast allen Kontinenten gespielt und unter anderem Musik für das niederländische Nationalballett und die niederländische Sinfonie geschrieben.Die Kleefstra-Brüder sind Mitglieder der niederländischen Impro-Band PIIPTSJILLING und arbeiten mit Musiker wie Celer, Gareth Davis, Peter Broderick, Machinefabriek, Nils Frahm, Greg Haines, Sytze Pruiksma und Anne Chris Bakker.Sytze Pruiksma ist Komponist, Soundkünstler und Ornithologe, der am Konversatorium in Amsterdam als klassischer Percussionist ausgebildet wurde und mit den großen niederländischen Orchestern gearbeitet hat.

CD im schicken Digipak - LP auf 180g Vinyl - im dicken Gatefold Sleeve - mit Downloadcode. POPPY ACKROYD ist eine Performerin und Komponistin aus London, die momentan in Edinburgh residiert.Nach ihrer klassischen Ausbildung an Geige und Klavier verliebte sie sich in die zeitgenössische Klaviermusik und in das, was man mit einem Klavier jenseits der Tasten anfangen kann.Als ihr auffiel, dass in ihrer Geige das gleiche Potential schlummerte, verbrachte sie die letzten Jahre damit, zerbrechliche, komplexe und wunderschön atmosphärische Musik zu erschaffen, indem sie Sounds der beiden Instrumente manipulierte.Ihr Debütalbum ,Escapement" setzt diese Idee weiter fort. Jeder einzelne Sound auf dem Album - mit Ausnahme einiger Field Recordings - stammt aus dem Klavier oder der Geige.Die sieben Tracks sind eine Kombination von Klaviermelodien und Akkorden -gespielt auf konventionelle Art und Weise oder dem Inneren des Klaviers mit Hilfe von Fingern, E-Bow und Plektren entlockt- verwobener Violine, Melodien, Pizzicato Riffs und fragilen Beats aus Klopfen, Zupfen und Kratzen mit Händen, Schlagzeugstöcken und kleinen Becken an Rahmen, Saiten oder den Dämpfern des Klaviers.POPPY nimmt alle Klaviersounds mit einem einzigen Mikrofon in ihrem Zuhause auf. Unter ,Escapement" versteht man im Englischen den Mechanismus im Klavier, der es dem Hämmerchen erlaubt, losgelassen zu werden, so dass die Saite vibrieren kann.Auf der anderen Seite beschreibt der Ausdruck auch den tatsächlichen Akt der Flucht und befasst sich im Kontext dieses Albums mit dem Freilassen von Emotionen durch die Instrumente.Für Fans von MAX RICHTER, HAUSCHKA, NILS FRAHM.

Recorded live by KPFA Radio in the halls of the sculpture court of the San Francisco Museum of Art on January 16, 1965, the day of 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for Cymbal with contact microphones agitated by a wide gamut of objects and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. First release on vinyl for a very important piece in the history of minimalist music.

Le Groupe de Recherches Musicales (The Group of Musical Research) of the O.R.T.F. (Office of the French Radio-Television) is known in the world principally as the promoter of an original technique of realization as well as reflection : Musique concrète. For more than fifteen years, the Groupe de Recherches Musicales has thus founded its experience, its methods of research and particular techniques upon a confrontation between the musical act, reflection upon its elements, experimentation on sound sources, and the electroacoustical means. Grouped around Pierre Schaeffer and Francois Bayle, composers and researchers try to give new direction to musical activity through the conjugated action of a program of Fundamental Research on the languages of music (concrete, electronic, but also instrumental and oriental) and a program of Expression, resulting in original compositions as well as essays for the ballet, theater, cinema, or television (...) In this LP you can find some great examples of the incredible production of many of the most celebrated composers of the ‘movement’: Boulez, Stockhausen, Parmegiani among others.

U has always displayed an unironic conformity to his own absolutely genuine / occasionally challenging ideal as to what a release should entail. After a series of predominantly, and (in the most loving sense) maybe begrudgingly, dance floor oriented EPs, ‘Vienna Orchestra’ is a long overdue insight into his core fascination as a musician; making complex and intriguing experimental pieces that belie the humble mode of their creation - recording from vinyl records and manipulating the audio on old school samplers. This LP is an insight into scores of hours of twiddling with loops and sequences to create music far removed from its source material (dusty classical records acquired on a trip to Vienna). This is a dense, blunted world, which holds the sound of a musician indulging their own ear’s obsessions and insatiable curiosity. The record’s opening is reminiscent of Walter Schumann’s ‘Night of the Hunter’ soundtrack in its deeply unsettling, creeping feel. The droning high strings in the background prick your ears while, in the foreground, oddly syncopated staccato stabs provide the loping, lurching feel. You could be forgiven for momentarily comparing this to some kind of oddball, Deep Puddle Dynamics-esque excursion… but then the fun begins. Throughout the record, the most consistently striking element is U’s masterful ability to, with the use of relatively simple EQs, filters and basic effects, turn familiar and fairly orthodox sounds into futuristic and daring electronic experimentalism. Forceful strings become ethereal and strange in their timbre, long, drawn-out notes are oscillated to create warped riffs or motifs and the imperfections of the physical format are treated as an essential aspect of the soundscapes he creates (more on this later). His isolation of contemporary rhythms in the source material displays an impeccable musical ear. Moments of the album sound like beatless grime or techno - not in a “YO kidz, Shakespeare was the original rapper!” kind of way - but in the startling, often illuminating fashion they summon connections between styles of the past and present. It’s also fascinating and joyful to hear, in this context, the early rave producers’ technique of pitching one chord or note across several pads / keys to create increments of the scale that shouldn’t really exist. No doubt this would discombobulate a classical purist to the point of distraction but it is a constant delight to hear this fairly un-musical production technique applied within a tuneful, meticulous and unfamiliar paradigm.

On Sing Me Home the renowned cello player Yo-Yo Ma and The Silk Road Ensemble join forces again to explore the ever-changing idea of home through original and traditional folk tunes. Joining them is a remarkable cast of international performers consisting of Gregory Porter, Bill Frisell, Abigail Washburn, Rhiannon Giddens, Martin Hayes, Sarah Jarosz, and many more.

The soundtrack produced by Johanna Billing featuring piano by Edda Magnason is part of the exhibition "Keeping Time"2016 at Villa Groce in Genova curated by Ilaria Bonacossa.

Mit einem Fuß in der klassischen Welt und dem anderen im Rock - die Starviolinistin auf Solopfaden. Wenige Lebensläufe lesen sich so schillernd wie der von Fiona Brice. Als Violinistin stand die gebürtige Britin bereits mit Größen wie Kanye West, Jay-Z, Beyoncé, Gorillaz und Robbie Williams auf der Bühne und zeichnete für zahlreiche Orchester-Arrangements für John Grant, Anna Calvi, Midlake, Placebo, Vashti Bunyan und Jarvis Cocker verantwortlich. Am 3. Juni erscheint nun ihr Debütalbum "Postcards From..." mit Eigenkompositionen bei Bella Union. Darauf nimmt uns Fiona Brice in zehn sparsam instrumentierten, aber dennoch sehr atmosphärischen, facettenreichen Instrumentalstücken mit auf eine musikalische Reise von Berlin über Sankt Petersburg und Tokio bis nach Denton.Color Vinyl LP+CD.

Music On Vinyl and Sony Classical celebrate The Truly Unforgettable Voice Of Florence Foster Jenkins on the occasion of the release of Stephen Frears new biopic starring Meryl Steep as the worst opera singer of all time. Two numbers Florence Foster Jenkins performed at Carnegie Hall in 1944 are contained in this album, taped at private recording sessions of famous soprano arias some years earlier in New York's Melotone Studios.

“Antiphon Stein” is a site-specific sound installation in the nave and choir of Minoritenkirche in Krems/Stein that engages with the architecture and sound of this church space. The material used are hanging and lying flat objects of glass and metal that are played with sound pressure transducers. These objects thus become membranes that resonate in their entire surface and mass, exuding sound to the surrounding space. The initial sounds for the installation are largely generated using a special four-channel recording technique; after the digital editing, they are left in their special four-channel arrangement, since capturing the sound from various spatial perspectives and distances allows an acoustic image of the existing space to emerge. The sound of the specific space thus plays a central role in the overall acoustic image.

Born in Oakland, CA, but raised in New Mexico, Partch learned mandolin, violin, piano, reed organ, and cornet as a child. Clearly a unique talent, even that early on, Partch went to USC Music School but was dissatisfied with his teachers, and instead studied music on his own where he learned to reject many of the Western constructs of music and began experimenting withusing scales of unequal intervals in just intonation, and was one of the first Western composers of the 20th century to use microtonal scales. These recordings were some of the first made after Partch settled in Sausalito and founded his legendary Gate 5 studio. Debuted in 1953 on KPFA radio, these compositions still sound otherworldly and cutting edge today. Essential American 20th Century composer Harry Partch, on Jeanne Dielman.

A survey of styles & sounds made possible by technical virtuosity & passion that is all too rare in today's musical landscape

A collection of some of Karlheinz Stockhausen’s earliest work, including his earliest piece of musique concrete “Beton-Studie” (aka “Étude”) written by Stockhausen in 1952-53 at Pierre Schaeffer’s studio at the RTF in Paris. Until 1992 this piece was believed to have been lost. The LP also includes the celebrated “Zeitmass” (1955), and “Klavierstück XI, parts I-IV” (1956), both of which helped to cement Stockhausen’s role as one of the leading German composers of the 20th century.

French composer and Ondes Martenot virtuoso, Christine Ott releases her first full-length album since 2009 and her debut record for Gizeh Records. Only Silence Remains is beautifully melodic and filled with mystery, seeing multi-instrumentalist Ott performing on a variety of different instruments throughout the record.

The Austrian composer, piano teacher and music publisher Anton Diabelli (1781-1858) is known in his own right today as the creator of a number of piano sonatinas for two and four hands. These are often favoured, and justly so, for teaching purposes, but they represent only a fraction of his complete works, most of which have been forgotten. Diabelli achieved true immortality as the composer of the famous waltz which Ludwig van Beethoven used as the starting point and basis for his op. 120. Friedrich Gulda, the interpreter of the Diabelli Variations on this recording, was born in Vienna in 1930, studied with Seidlhofer and was an international celebrity at the age of twenty. His repertoire includes piano works from every . age and his concert tours have taken him all over the world. Gulda is a universal pianist who masters the most difficult pieces in piano Iiterature and is never known to give a mediochre performance, whether of Bach, Debussy, Beethoven or of his own jazz pieces.

On April 27th, 2016 Friedrich Goldmann would have turned 75. Macro is celebrating the composer's anniversary with a luxury Box Set CD edition of the complete trios of 1986 - 2004 and his singular oboe quartet (2000). Two of the recordings were produced by Goldmann himself, and all feature musicians with a long-term working relationship related to and deep expertise of the composer's oeuvre such as Ingo Goritzki, Björn Lehmann, members of Ensemble Mosaik and KNM Ensemble. The CD is accompanied by a 48 page booklet, featuring extensive essays by Björn Gottstein (artistic director of Donaueschingen Music Days) and musicologist Bruno Santos, exploring Goldmann's groundbreaking aesthetics.

Anlässlich seines 80. Geburtstags präsentiert die Deutsche Grammophon eine von Mehtas besten Einspielungen wieder auf Vinyl, die Ouvertüre von Bernsteins Candide, Aaron Coplands Appalachian Spring und Gershwins An American in Paris erscheint im originalen Verpackungsdesign auf 180g-Vinyl.

Anlässlich seines 80. Geburtstags präsentiert die Deutsche Grammophon mit Gustav Holsts Orchestersuite Die Planeten mit dem Los Angeles Philharmonic Orchestra, eine von Mehtas besten Einspielungen wieder auf Vinyl.

The French-born Edgar Varèse (1883-1965), believed music to be both an art and a science. His pioneering use of electronic instruments like the theremin, along with his theory of “organized sound” has earned him the impressive title of “Father of Electronic Music”. Varèse spent the early twenties as a starving composer in NYC, writing works like the percussionless “Octandre” and “Intégrales”, his first piece to use the term “spatial music”. Upon returning to Paris in 1928, he composed the celebrated “Ionisation”, the first piece ever written for an entirely percussion ensemble (13 percussionist playing 40 instruments). His 1936 piece, “Density 21.5”, written for solo flute for the premiere of George Barrère’s new platinum flute, is one of the great masterpieces for unaccompanied flute. It is also one of the only compositions written by Varèse during this decade. His next major work, “Déserts”, was in fact not written until 1950. It was the first piece ever written for magnetic tape and orchestra and was meant to be the soundtrack to a film which would juxtapose images of actual deserts with images from past wars (the great ‘deserts’ of civilization).

The Harry Partch Ensemble, The Gate 5 Ensemble. Limited Edition LP release (180g vinyl) + free download card. Selecting illustrative works from the lifetime of a creative person is a daunting task; doing so with a singularly individual artist like Harry Partch is all the more difficult. In the more than four decades since Partch's death, interest in his both his life and his compositional output has continued to grow, and there remains a place for documents that can offer insights, suggest paths, and give new life to that creator's endeavors.Even as duplicate instrumental ensembles are beginning to appear, and the original Partch instrumental resources have found a new home for performance and study, there is considerable value in returning to the many recordings he crafted over his lifetime of composition and performance. These are recordings that carry not only the stamp of the author, but his voice as well - Partch himself appears in every single track of this record, either as singer, instrumentalist, or both.This remastered version of The Dreamer That Remains has never been available before and is making its first appearance in any format. The 12-page booklet includes an essay by the Harry Partch Foundation's Jon Szanto and numerous rare photographs provided by the foundation and other sources. An invaluable document for both Partch enthusiasts and neophytes! Limited to 700 copies.

This release comes on 180g vinyl with a download code.

Limited to 350 copies.

This release comes with a download code. Beautifully recorded and cinematic in scope, ‘Songs From Before’ once again carries a pensive, emotionally resonant tone. Punctuated by Robert Wyatt’s distinctive, understated readings of Haruki Murakami’s text, the music evokes forgotten memories or lost histories, a series of bittersweet articulations that seem suspended somewhere between a dreamy sense of awe and melancholia.

Martin Kohlstedt's debut now available on vinyl.

This is a cross-over classic gem.

Flatus Vocis Trio with Fátima Miranda, Llorenç Barber, and Bartolomé Ferrando.In the phonetic poetry tradition.Recorded in 1989 in Madrid.

The Piano Guys have become a YouTube sensation with their clever and inspiring takes on popular music and creative videos that accompany them. From Beethoven to Adele, their eclectic mix of Classical, film score, Rock and Pop favorites resonate with audiences across generations and from all walks of life. Their 2012 debut album The Piano Guys reached number One on the Billboard New Age Albums and Classical Albums charts.180g vinyl.

The waltz was perhaps the most important thing that the rather level-headed and conservative Johannes Brahms from Hamburg brought back with him from his sojourn in Vienna. In addition to his purely instrumental waltzes for the piano, he also composed the "Liebeslieder Waltzes" – uniquely folk like and highly original vocal joyfulness in ¾ time. The lyrics are taken from real life and tell of love, longing, desire, and suffering but also of anger and derision.Just how ideally this music fits in with the workshop atmosphere of the Marlboro Summer Music Festival is fully evident here. The musicians gathered around Rudolf Serkin sing the very finest Brahms – joyous, inspired yet completely relaxed – and reflect light upon all aspects of earthly existence. An excellent choice to complement these emotions is Schubert’s penultimate composition "The Shepherd On The Rock" D 965. This great and far-too-seldom performed lied is based on three poems, which are performed impressively and with brilliant musicality by the soloist Benita Valente. And last but not least, the addition of the clarinet, which functions both as a soloist as well as imitating the voice, lends the work its particular charm.

Werktag / Chessex / Buess takes its roots in the Zurich based trio Werktag, initiated in 2012, and to which Alex Buess and Antoine Chessex are now both bringing their own contribution.Werktag (Tobias Gerber, saxophone; Rafael Rütti, piano; Sebastian Hofmann, drums) evolves in the tension field between written, experimental and improvised music and tends to have a weakness for the combination of acoustic instruments and live multi-track electronic music. As a result, the volume is sometimes pretty loud ; something Alex Buess and Antoine Chessex feel more than comfortable with. Belonging to two different generations of swiss musicians, they both find each other at the border of contemporary music, noise, hardcore, and free improvisation. Writting music is a part of both of their creative processes.

Zbigniew Karkowski, "Monochromy" and Reinhold Friedl, "Xenakis alive 1". Performed by Zeitkratzer. Recorded at Archipel Festival, Genève, Switzerland, 2004. With Frank Gratkowski, clarinets, Franz Hautzinger, trumpet, Melvyn Poore, tuba, Reinhold Friedl, piano, Marc Weiser, analog sampler, Maurice de Martin, percussion, Burkhard Schlothauer, violin, Anton Lukoszevieze, cello, Uli Phillipp, double bass.